Online Reporter
Trust Khosa
Zimpapers Arts and Entertainment Hub
IN life, one should never burn bridges just because their fortunes have changed for the better.
Being successful is no excuse to cut ties with those who helped you reach the top.
Life can turn sour at any moment.
Oftentimes, religious converts have a tendency to shun their traditional way of life.
Some even go to the extent of labelling everyone — including parents, childhood friends and close family — as “sinners”.
Jiti musician Baba Harare, born Braveman Chizvino, may have learnt this lesson the hard way.
In 2024, he quit the genre that brought him fame and fortune to pursue gospel music. While he has always loved gospel, it was jiti that catapulted him to stardom.
After leaving Jah Prayzah in 2017, Baba Harare had a false start as he explored reggae before finally turning the corner when he embraced jiti as his calling.
He received numerous nominations for various awards, establishing himself as the prince, if not the king, of the genre.
In June 2024, he shocked everyone by announcing he was dumping the genre that had shaped his music career.
But not long after, he made a sensational return to jiti with a new album, “Greater and Wiser”, just as artistes like Paddington Chiwashira (the “Manhanga Matete” hitmaker), “Weru” chart-topper Calvin Fero and Baba Gweru (real name Henry Musingarabwi) were gaining popularity.
He remorsefully apologised to his music fans, who seemingly warmly welcomed him back.
Zimbabwean music fans can be unforgiving.
Baba Harare now seems to have realised that one can pursue secular music while still attending church services.
Reflecting on his 2024 decision to walk away from the jiti family, Baba Harare told the Zimpapers Arts and Entertainment Hub that he has matured both musically and spiritually.
“The support has been overwhelming and deeply humbling. It showed me that jiti is not just a genre; it is part of people’s identity. The fans never stopped believing and their loyalty reminded me of my responsibility to protect and elevate the sound,” said Baba Harare.
He also said he missed the energy inherent in jiti music during the period he was away.
“I missed the energy. Jiti has a unique rhythm that connects instantly with people — the dance, the interaction, the storytelling. It is communal music. When you step away from it, you realise how powerful that connection is.”
Now that he is back, with new shows lined up, including overseas bookings, Baba Harare shared his plans for the first half of the year.
“The first half of the year is focused on consolidating the jiti brand. I am working on new music, strengthening live performances and expanding regional shows. We are also planning collaborations that maintain the authenticity of jiti while pushing it into new spaces, including international festivals. Consistency and quality are the priorities,” he said.
He said jiti was more than just music.
“Jiti is a Zimbabwean cultural expression rooted in traditional rhythms and community celebration. It carries storytelling, social commentary, humour and lived experiences. Historically, it has been music for gatherings — weddings, community events and celebrations. It preserves language, dance styles and indigenous identity. In that sense, jiti is heritage.”
After paving the way for a new generation of jiti musicians, Baba Harare firmly believes the genre’s appeal will never fade.
“Jiti is accessible. It makes people move instantly. The tempo, the guitar-picking patterns and the call-and-response create participation. It cuts across age groups because it feels familiar yet continues to evolve. It is authentic African rhythm with universal energy,” he added.
Reflecting on his year in gospel music, he shared both the joys and lessons.
“I enjoyed the spiritual growth and discipline. Gospel music sharpened my song-writing and made me more reflective about the message behind my music. I would not call anything a regret. Every season teaches you something. It was a learning curve that strengthened me creatively and personally.”
The singer also shared his honest opinion about some church leaders who expect free services from gospel artistes.
Having been a victim of such practices, Baba Harare issued a statement condemning this “evil” tendency and called for respect and love for gospel artistes who perform in church.
“Artistes invest heavily in their craft — studio time, instruments, transport and band members. Ministry and professionalism can coexist. Supporting artistes financially does not reduce the spiritual value of their work. Respecting artistes includes recognising the costs behind the gift,” he argued.
As one of the artistes who revived jiti, Baba Harare urged arts regulators and associations to respect its advocates.
“Recognition is important, but the biggest honour is seeing jiti respected and preserved. If institutions acknowledge the role we have played in modernising and popularising it, that would be appreciated. However, the real reward is longevity and impact.”
He also addressed the issue of musicians who imitated his style during his hiatus, including Baba Gweru.
“Imitation is part of growth in any genre. It shows the sound is influential. But true longevity comes from originality. I encourage artistes to draw inspiration but build their own identity. That is what sustains a career.”
Reflecting on his own missteps, which saw him lose much of the impressive body of work, Baba Harare offered advice to upcoming musicians.
“As an upcoming artiste, understand your identity before chasing trends. Invest in quality production. Respect your audience. Protect your brand. And most importantly, be patient. Music is a long-term commitment, not a quick-result business,” said Baba Harare.
As he retraces his roots as a jiti musician, the Masvingo-bred singer has realised that poor decisions can be costly.
With his return, apology and renewed creativity, he has shown the world that he still has the mojo.
For other jiti stars who emerged during his absence, competition is not only welcome but necessary, ensuring that the genre remains vibrant and fun for audiences.
Trust Khosa
Zimpapers Arts and Entertainment Hub
IN life, one should never burn bridges just because their fortunes have changed for the better.
Being successful is no excuse to cut ties with those who helped you reach the top.
Life can turn sour at any moment.
Oftentimes, religious converts have a tendency to shun their traditional way of life.
Some even go to the extent of labelling everyone — including parents, childhood friends and close family — as “sinners”.
Jiti musician Baba Harare, born Braveman Chizvino, may have learnt this lesson the hard way.
In 2024, he quit the genre that brought him fame and fortune to pursue gospel music. While he has always loved gospel, it was jiti that catapulted him to stardom.
After leaving Jah Prayzah in 2017, Baba Harare had a false start as he explored reggae before finally turning the corner when he embraced jiti as his calling.
He received numerous nominations for various awards, establishing himself as the prince, if not the king, of the genre.
In June 2024, he shocked everyone by announcing he was dumping the genre that had shaped his music career.
But not long after, he made a sensational return to jiti with a new album, “Greater and Wiser”, just as artistes like Paddington Chiwashira (the “Manhanga Matete” hitmaker), “Weru” chart-topper Calvin Fero and Baba Gweru (real name Henry Musingarabwi) were gaining popularity.
He remorsefully apologised to his music fans, who seemingly warmly welcomed him back.
Zimbabwean music fans can be unforgiving.
Baba Harare now seems to have realised that one can pursue secular music while still attending church services.
Reflecting on his 2024 decision to walk away from the jiti family, Baba Harare told the Zimpapers Arts and Entertainment Hub that he has matured both musically and spiritually.
“The support has been overwhelming and deeply humbling. It showed me that jiti is not just a genre; it is part of people’s identity. The fans never stopped believing and their loyalty reminded me of my responsibility to protect and elevate the sound,” said Baba Harare.
He also said he missed the energy inherent in jiti music during the period he was away.
“I missed the energy. Jiti has a unique rhythm that connects instantly with people — the dance, the interaction, the storytelling. It is communal music. When you step away from it, you realise how powerful that connection is.”
Now that he is back, with new shows lined up, including overseas bookings, Baba Harare shared his plans for the first half of the year.
“The first half of the year is focused on consolidating the jiti brand. I am working on new music, strengthening live performances and expanding regional shows. We are also planning collaborations that maintain the authenticity of jiti while pushing it into new spaces, including international festivals. Consistency and quality are the priorities,” he said.
He said jiti was more than just music.
“Jiti is a Zimbabwean cultural expression rooted in traditional rhythms and community celebration. It carries storytelling, social commentary, humour and lived experiences. Historically, it has been music for gatherings — weddings, community events and celebrations. It preserves language, dance styles and indigenous identity. In that sense, jiti is heritage.”
After paving the way for a new generation of jiti musicians, Baba Harare firmly believes the genre’s appeal will never fade.
“Jiti is accessible. It makes people move instantly. The tempo, the guitar-picking patterns and the call-and-response create participation. It cuts across age groups because it feels familiar yet continues to evolve. It is authentic African rhythm with universal energy,” he added.
Reflecting on his year in gospel music, he shared both the joys and lessons.
“I enjoyed the spiritual growth and discipline. Gospel music sharpened my song-writing and made me more reflective about the message behind my music. I would not call anything a regret. Every season teaches you something. It was a learning curve that strengthened me creatively and personally.”
The singer also shared his honest opinion about some church leaders who expect free services from gospel artistes.
Having been a victim of such practices, Baba Harare issued a statement condemning this “evil” tendency and called for respect and love for gospel artistes who perform in church.
“Artistes invest heavily in their craft — studio time, instruments, transport and band members. Ministry and professionalism can coexist. Supporting artistes financially does not reduce the spiritual value of their work. Respecting artistes includes recognising the costs behind the gift,” he argued.
As one of the artistes who revived jiti, Baba Harare urged arts regulators and associations to respect its advocates.
“Recognition is important, but the biggest honour is seeing jiti respected and preserved. If institutions acknowledge the role we have played in modernising and popularising it, that would be appreciated. However, the real reward is longevity and impact.”
He also addressed the issue of musicians who imitated his style during his hiatus, including Baba Gweru.
“Imitation is part of growth in any genre. It shows the sound is influential. But true longevity comes from originality. I encourage artistes to draw inspiration but build their own identity. That is what sustains a career.”
Reflecting on his own missteps, which saw him lose much of the impressive body of work, Baba Harare offered advice to upcoming musicians.
“As an upcoming artiste, understand your identity before chasing trends. Invest in quality production. Respect your audience. Protect your brand. And most importantly, be patient. Music is a long-term commitment, not a quick-result business,” said Baba Harare.
As he retraces his roots as a jiti musician, the Masvingo-bred singer has realised that poor decisions can be costly.
With his return, apology and renewed creativity, he has shown the world that he still has the mojo.
For other jiti stars who emerged during his absence, competition is not only welcome but necessary, ensuring that the genre remains vibrant and fun for audiences.
